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The Origins of The Mulligan Mosaics Big Band
Written by Ted Hogarth

In addition to being a popular jazz performer in Chicago, Ted Hogarth maintains a private teaching studio. During a lesson several years ago, one of his students, Chris Weller, told Ted the wonderful story of how, while in pursuit of a copy of Gerry's Entente for Baritone Saxophone and Orchestra, the Library of Congress passed along the contact information for Franca Mulligan, Gerry's widow and President of the Gerry and Franca Mulligan Foundation. Chris said that Mrs. Mulligan was very helpful to him, and since Chris knew of Ted's desire to study Gerry's music, suggested that he contact Franca.
Ted had just completed a Master's Degree in Jazz Composition at DePaul University in Chicago and was interested in studying some of the scores for Gerry's Concert Jazz Band in order to understand how this incredible music was constructed. After an exhaustive search for the arrangements on the Internet proved unsuccessful, Ted contacted Ken Poston from the Los Angeles Jazz Institute - which houses some of Gerry's music - about acquiring scores for research. Ken suggested that Ted contact Franca directly and assured him that she would be a great help.
Ted called Franca and told her how much he admired Gerry's playing, his lush sound, and his writing, and arranging, and that he wanted to study the scores from the Concert Jazz Band. Franca graciously agreed to send Ted copies of the music, with the understanding that the music was the property of Mulligan Publishing, Inc. and would be used for study, research, and performance for fund-raising only. Ted explained that he did not have a big band and was only interested in studying the music.
After emailing a list of requested scores, Franca called Ted and suggested that he come to Connecticut to look through Gerry's private library to select the pieces he wanted copied. Ted was thrilled to have the opportunity to see where Gerry composed, practiced and rehearsed his groups. Ted and his wife Lisa Rosenthal went to Connecticut for three days in May 2006 for the first of many visits which would change their lives.
The first visit was very productive with Ted collecting five scores for his study. Upon returning to Chicago Ted decided he not only wanted to study this music, he wanted to perform it. He formed a big band comprised of his closest friends, who also happened to be the top players in Chicago.

The Band and Its Music
The Mulligan Mosaics Big Band was formed in early May 2006 and had its first performance in July 2006 at Morseland on the North side of Chicago. A member of big bands for years, this was the first time Ted was leading his own group.
The performance was a success and the newly formed band began to acquire a following. Since then they have performed at FitzGerald's and in Millennium Park in Chicago as part of the Great Performers of Illinois festival with a number of concerts currently in the works.
Ted spent June through mid-August putting the scores for "Apple Core," "As Catch Can," "A Ballad," "Chant," "I Know, Don't Know How," "Line for Lyons," "Walkin' Shoes," and "Young Blood" into the music notation program Finale. He did this in order to make any necessary edits easier, and so that he could help Franca with the project of making Gerry's music available for printing, free of charge, from the Library of Congress Web site. Both Ted's Web site (www.tedhogarth.com) and the Mulligan Publishing Web site (www.gerrymulligan.com) will have a link to these.
After studying the scores and parts Ted realized that, like any art form, the arrangements continued to evolve even after the score was finished. Ted then took the original scores and put each note, slur, dynamic marking - every mark made - into Finale. He saved that file and made a copy. He then edited the copy of the original score with changes from the parts. Doing this made the edited score a more accurate representation of what was played on the recording. Ted then decided to make another copy of the edited score and make further changes based on extensive listening to the recording. This was a very exhaustive, time-consuming, yet enjoyable process. Ted had wanted to study the scores to improve his own writing and this was the perfect opportunity.

The Mulligan Mosaics Big Band, led by Ted Hogarth,
baritone saxophonist, composer, and arranger,
also features:
Mark Colby, tenor saxophone, jazz faculty member, DePaul University
Art Davis, trumpet, Assistant Professor, Northern Illinois University
Thomas Matta, bass trombone, jazz faculty member, DePaul University
Tim Coffman, trombone, jazz faculty member, DePaul University
Tom Tallman, trumpet, Director of the Jazz Studies Department, College of DuPage
Nick Moran, baritone sax and bass clarinet
Louis Stockwell / Dan Nicholson, alto saxophone
Rob Denty, tenor saxophone and clarinet
Terry Connell, trumpet
Bryant Scott, trombone
Joe Policastro, bass
Ed Breazeale, drums

The legendary Gerry Mulligan was one of handful of musical giants who was extremely influential as both a composer / arranger and as an instrumentalist.
As a composer, his music was distinct and original. His melodies were masterpieces, logically structured and filled with wit and humor. As an arranger, his linear approach and clever use of counterpoint helped define the standard for modern jazz orchestration.
As an instrumentalist, he was the most significant baritone saxophonist in the history of jazz. He was a brilliant soloist, able to communicate on both an intellectual and an emotional level.
By using the full range of the instrument, he developed a very personal sound that has been widely imitated but never duplicated.
Gerry Mulligan single-handedly established the baritone saxophone as a solo voice.
As one of the great jazz innovators, his writing and playing influenced entire stylistic movements, including both "cool jazz" and "bossa nova."
He was born in New York on April 6th, 1927. His musical career began in the mid-1940's, writing for a variety of bands, including Tommy Tucker, Johnny Warrington, Elliot Lawrence, Gene Krupa and Claude Thornhill. During his tenure with Thornhill, he worked with another band arranger named Gil Evans. Evans shared Mulligan's concepts of a more linear writing style, and together with Miles Davis, they conceived what we now think of as "The Birth of the Cool."
In the early 1950's, Mulligan moved to Los Angeles and formed his monumental Pianoless Quartet featuring Chet Baker.
The quartet was an instant success, and Mulligan became an international jazz celebrity. This led to numerous engagements throughout the world, as well as appearances on radio and television, and in motion pictures. In 1960 he formed the Concert Jazz Band, a 13-piece ensemble based on the idea of the pianoless quartet. This gave the ensemble a much lighter sound and texture and established new standards for jazz orchestration.
From that point on, he continued to explore new musical frontiers. In addition to working with his own groups, he also began writing for films, musical theater, symphony orchestras and chamber groups, and collaborating with artists as diverse as Astor Piazzolla, Antonio Carlos Jobim, Barry Manilow, Zubin Mehta, and many outstanding American Performes.
His immense success and popularity contined to take him to venus throughout the world. His brilliant performances and articulate commentary made him one of the great ambassadors for American music. Music was his focus and purpose in life, and he was able to transcend barriers on both a musical and personal level. He left us a prolific legacy of recordings from all phases of his career. The body of work that he produced over six decades establishes him as one of true giants of twentieth century music.
His collection of manuscripts and recordings has been donated to the Library of Congress.
The genius, magic, and beauty of Gerry Mulligan's music has earned him immortality.

Ken Poston
Jazz historian

With permission by Mulligan Publishing Co., Inc.